A First Timer’s Guide to Registering for the Literacy for All Conference

We’re excited to announce we’ve opened registration for the 28th Annual Literacy for All Conference, co-hosted with The University of Maine, and the University of Connecticut. This year the conference will be held October 22–24, 2017 in Providence, Rhode Island. While we know many of you are veteran LFA attendees, each year we have more and more new faces joining us in Providence. Welcome to all first timers!

We have made it even easier to register for the Literacy for All Conference! Simply visit www.regonline.com/lfa2017 and enter your email address to begin your registration process. We’ve put together a little guide to our online registration system to help make the process as quick and painless as possible.

An Important Note

We have created an online registration process that seamlessly guides you through the steps of registration. Please do not use your Internet browser’s “back” button if you want to go back and make a change, as it will cause errors and you will not be able to complete your registration. Instead, if you need to change something, complete your registration and then email us at literacy@lesley.edu, and we will make the changes for you.

Before You Register

First, you should make a list of all the sessions you want to attend. You can find the full list on our website. Each time block is listed with a letter, ie: LCA, LCB, etc. Then, each session within that time block is numbered. So, the full session code will read something like LCA-1 or LCC-4. You can only choose one session per time block, so you should have one LCA, one LCB, and so on.  Please note, that on our online registration system, RegOnline, the sessions are listed with only the code and the presenter name, not the session title, as shown below.

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The only variation is in the In-Depth sessions, which occur either in the C or F blocks. In-Depth sessions are three hours long, not the normal 90 minutes, so if you choose an In-Depth session for your C or F, you will not be able to choose a D or G, respectively, as the In-Depth session will run through that time.

If a session doesn’t appear on the drop-down menu that means it is sold out and you will have to choose another session. Sessions do sell out, so we recommend registering as early as possible to ensure you get all your first choices.

Second, know your method of payment. If your district will be paying for you with a purchase order, you don’t need to know the purchase order number to register. If your district will be paying for you with a credit card, you can still register yourself. When you get to the checkout screen, simply choose “Pay with Purchase Order” and then have your district call us with the credit card number, or fax or email us the PO within ten business days of registering.  Please note, if you are paying with a purchase order (PO), we require that you submit a copy of your PO to secure your registration.  If your PO has not been received by the opening of the institute, you will be required to provide a credit card in order to attend the institute.

We recommend that all attendees register themselves. The process begins with an email validation– you’ll receive an email with a secure link, which you’ll need to click on in order to continue your registration. Forwarding these emails can sometimes be tricky, so we recommend you register yourself to avoid confusion.

If someone else has to register for you, we recommend that you choose your sessions ahead of time and give the list of sessions, including session code and presenter name to the person registering you.

When entering in your personal information, please note that there are separate spaces to enter your school district and your school name, as shown below. When entering your district, please don’t use abbreviations like RSD or UFSD– if the district has a separate name (ie: Oxford Hills School District) please use that; alternately, please spell out the words Regional School District. This will help us keep uniformity in printing name badges, and help match up registrants to purchase orders when we receive them.

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Confirmation

When you’re done registering, you will see a screen confirming that your registration is complete. If you don’t see that screen, you haven’t finished registering yet! Once you get to that screen, be sure to read it thoroughly, as it contains details about which sessions have required readings and materials, a list of conference policies, your own detailed agenda based on the sessions you selected, and other helpful links.

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In addition to the confirmation page, a confirmation email will be automatically sent to the email address you provided. If it doesn’t appear within an hour of you registering, check your spam and junk folders, as some email providers mark emails from RegOnline as spam by mistake. In the past, many were not able to receive RegOnline emails, because many schools block emails from RegOnline, so if you have a personal email address, we encourage you to use it, instead of your school email, when registering.  If you don’t receive your confirmation email at all, please email literacy@lesley.edu and we will re-send it to you.

Please help us be environmentally conscious! Do not print out your confirmation message to mail in with your check or PO. Instead, just make sure your full name and district are written on the PO or in the item line of the check. That’s all we need to match up your payment with your record in the system.

Conference Events, Exhibit Fair, and Other Information

The conference registration desk hours are as follows:

  • Sunday, October 22, 2017: 10:00 am–6:00 pm
  • Monday, October 23, 2017: 7:00 am–5:00 pm
  • Tuesday, October 24, 2017: 7:30 am–9:00 am

The conference help desk will be open 7:00 am – 6:00 pm each day.

Literacy for All also includes an exhibit fair with booths showcasing classroom services and products for all grade levels and subjects. Exhibit hours are 4:00-6:00 on Sunday, 10:00–6:00 on Monday, with the Exhibit Fair from 5:00–6:00; and 7:30–3:30 on Tuesday. During the Exhibit Fair on Monday, you can enter to win something from our prize raffle, and get books signed by some of our featured and keynote speakers.

Please visit the conference website, www.lesley.edu/literacyforall, for information on hotels, parking, attendance policy and certificates of attendance, and sessions with required readings/handouts/materials.

Have questions? You can contact us anytime at literacy@lesley.edu or by phone at 617.349.8402.

Looking forward to seeing you all in October!

Making The Writer’s Craft Visible: Teaching Purposeful Decision-Making In a Writers’ Workshop

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by Helen Sisk and Heather Rodman, Center for Reading Recovery and Literacy Collaborative Faculty

This summer, improve your knowledge about writing and your expertise in teaching writing as you work with three well-known children’s authors and an amazing writing guru at the 4-day, Lesley Summer Literacy Institute: Making The Writer’s Craft Visible: Teaching Purposeful Decision-Making In a Writers’ Workshop.  Jack Gantos, Nikki Grimes, Steve Jenkins, and Carl Anderson will share their knowledge and experiences as writers and mentors.  They will help you examine texts to identify craft moves, notice how writers support their intended meaning, and make texts lively and interesting for others to read. As you develop your own repertoire of skills, you will learn how to teach your students to understand that writing is a series of decision-making choices that convey the writer’s purpose.

One learns to read by reading… and learns to write by writing and reading.  It is immersion into story and content with the close analysis of the writing craft that helps a writer create meaningful texts.  By engaging in an inquiry process to examine well-crafted texts at this year’s summer institute, you will learn a process to apply to any genre of writing.  Using The Continuum of Literacy Learning, other professional texts, and children’s literature, you will identify not only the craft moves writers use, but also think about how to use those same craft moves in creating well-written texts.

One aspect of fostering strong writing is for teachers to know how to assess their students as writers – what do students understand already, and what do they need to understand better as writers?  Teachers who study how writers develop craft, consider the role genre plays in writing and notice how conventions enhance meaning, can analyze student writing to design effective whole group minilessons, small group guided writing, and individual student conferences.  These three instructional contexts can assure that you meet the needs of a diverse range of student writers.

There is so much to learn as teachers of writing… and there is so much enjoyment to be had in engaging in the writing process as you enhance your skills.  Come participate in this amazing opportunity to learn from some of the best writers!

Hope to see you there!

Information on the Summer Literacy Institute can be found at http://www.lesley.edu/summer-literacy-institute/

Why Is It So Important to Use Mentor Texts in Conferences?

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by Guest Blogger Carl Anderson– Author and 2016 Lesley University Summer Institute Featured Speaker

The act of raising children involves surrounding them with mentors throughout their childhoods.  Piano and dance teachers, soccer and baseball coaches, and, yes, teachers in schools are all mentors for children who teach them things that their parents do not have the necessary expertise or time to teach themselves.

When we use the term “mentor text,” we are referring to a text that is an example of good writing from which children can learn about the craft of writing.  By studying a mentor text, a young writer can learn about how to write a lead, how to use punctuation to create cadence and rhythm in sentences, how to structure a text, or any one of hundreds if not thousands of ways that writers choose to craft their writing.

In a real sense, it’s the author of the text who is the mentor for the child.  A sixth grader who is studying Brown Girl Dreaming is learning about how to write from Jacqueline Woodson.  Or a first grader who is studying The Snowy Day is learning how to write from Ezra Jack Keats.  Just like Odysseus’s son Telemachus’ son learned from the Odysseus’s friend Mentor when Odysseus was away during his journeys in the ancient Greek poem The Odyssey, by Homer (I found out about the root of the word “mentor” from Georgia Heard in her book, Finding the Heart of Nonfiction!, students learn from the authors of every genre they study in a writing workshop.

Being familiar with mentor texts helps students with two of the key acts in composing a text.  First, when writers are starting to write a text, or a part of a text, they envision how it will go, a term I originally learned from Katie Wood Ray in her book, Wondrous Words (1999).  Writers often envision the overall structure of a text before they start writing it.  Likewise, when they write a section, a paragraph, a sentence, even the individual words that make up a sentence, they envision how these components of the text will go, too.  The root word of envisionment is, of course, vision.  For a writer to be able to “see” in her mind how a text or part of a text will go, she draws upon her knowledge of the kind of text she’s trying to write.  It’s through studying mentor texts that writers enhance their ability to imagine the many ways their own texts could go.

Revision, the part of the writing process that we usually think of as happening after writing a draft, refers to the act of making changes that improve a draft.  These changes might include adding detail to a draft, reworking a section, deleting a section, putting a section in a different place in the draft, or deciding to substitute one word for another.  Just as with the term envisionment, the root of the word revision is “vision.”  How do writers “see” in their minds how a text could be revised?  One important way is by thinking of the texts that they’ve studied, and comparing their drafts to those texts.  Ideas for how to revise a text come from that same pool of knowledge about texts that ideas for envisioning a text come from.

And once again, by studying mentor texts, writers are better able to imagine ways that a text could be revised.

Although I think it’s important to show students mentor texts when we are teaching the class a mini-lesson or a few students in a small group, I find that conferences are the place where mentor texts have the biggest impact on student learning, for several reasons:

  • In conferences, we can match a child up to a text that is at her level as a writer, and which shows the child exactly what it is I want her to learn to do right now. In a mini-lesson or small group, on the other hand, the mentor texts we show may not be exactly on each child’s level as a writer.
  • In conferences, since the mentor text is right in front of the child, he can closely study the text in a way that is harder when the text is projected onto a screen via a document camera, or onto the smart board via a laptop.
  • Conferences are more intimate than mini-lessons or small groups, and give us the chance to engage a child in a discussion about a text and how she can use what she is seeing in the text in her own writing.
  • In conferences, we are able to gauge whether or not a student understands the craft move that we’re studying in a text in a way that isn’t possible in a mini-lesson.

Finally, while we traditionally think of mentor texts as published texts—picture books, op-eds from a newspaper, short stories from a children’s magazine, etc.–they can also be texts that we have composed ourselves, or texts that have been composed by our own students.

Also, I use different kinds of texts as mentors to help students imagine the kinds of work they can do at other parts of the writing process.  For example, to help students envision what goes into keeping a successful writer’s notebook, I show them my own writer’s notebook.  I also show students my revised drafts–both paper and digital–so they can see the kinds of revision work I’ve done, such as information I’ve added in the margins.  I even show students edited drafts, so they can see the kinds of edits I make, and the symbols I use to indicate the kinds of edits I’m making.

You can hear Carl Anderson speak at our 2016 Summer Literacy Institute July 12-15, 2016. Register online at: https://www.regonline.com/Register/Checkin.aspx?EventID=1810005

 

Science Writing for Children Made Simple

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by Guest Blogger Steve Jenkins who is presenting a session at our upcoming 2016 Summer Institute entitled, “Writing About Science for Children: How Content Dictates Structure”

Writing, of course, is not simple. Writing about science is not simple, and writing about science for children is perhaps even less simple. So my title is just a questionable journalistic device to attract readers. But I have managed to come up with a few guidelines that I try to apply to my own non-fiction writing.

Since my own professional background is originally in graphic design and illustration, it feels a bit presumptuous to write about writing for an audience of literacy experts. When I began making books for children, I was inspired in part by my lifelong love of science — especially the science of the natural world. But I mainly wanted to explore the visual possibilities of the picture book. I’m still not completely comfortable with thinking of myself as a writer, though I’m getting there.

This story begins almost 30 years ago. I was reading piles of books to my baby daughter — my wife and I took turns reading to her every night, starting when she was too young to even sit up. Reading and looking at all those children’s books got me thinking that making a book might be fun. I say “making” rather than “writing,” because my first books were really about the illustrations. From the beginning, I was drawn to nonfiction about the natural world, and I quickly realized that words would be necessary if I wanted a book to convey much actual information. Or get published. I did make one wordless picture book, but most of the subjects I wanted to explore required some annotation.

Today, having published more than 30 titles, I find that writing has become my central preoccupation when I’m working on a book. I love the visual part of the process, and I’m always confident that — one way or another — a book’s visual challenges can be solved. Creating the illustrations is my reward for figuring out the structure and voice the subject demands. But the writing doesn’t get any easier. Just the opposite, in fact. In my early books I was blissfully naive about the writing process. I just wrote down what I thought would explain the image on the page. I didn’t rewrite as much. I didn’t spend all day on a sentence.

As I gradually recognized that getting the words right was as important (more?) as perfecting the images, writing became more and more of a focus. I remember being surprised and a little bemused that teachers and librarians I encountered at schools and conferences were reading my books and analyzing the way they were written, often recognizing patterns that had never occurred to me.

This may be more background than is really necessary, but I want to create some context for sharing a few of the informal writing “rules” I’ve developed for myself. These are rules that apply to my own writing — I’m not suggesting that anyone else should follow them (OK, maybe one or two of them):

Don’t underestimate the ability of young children to understand complex relationships and abstract concepts if they are properly explained.

New facts and information should be presented in a context that makes sense to children. Use metaphors or comparisons with familiar things. Even most adults can’t readily grasp large sizes, quantities, or spans of time.

Don’t mix different units of measurement or meaning in the same comparison. This is an unfortunately common practice in writing for adults: “There are only about 5,000 snow leopards left in the wild, and the population of Amur leopards has decreased by 80%.”

Clarify terms that seem simple but have multiple interpretations. This is a common problem with scale-related information: “Animal A is twice as big as Animal B”. What does ‘big’ mean? If it’s based on linear dimension, and if the animals are similarly proportioned, then animal A weighs eight times as much as animal B.

Introduce a few terms and vocabulary words that are probably unfamiliar, but not too many for the reading level of the audience. If possible, use new terms without formal definition in a context that makes their meaning clear. It’s more fun for kids to figure out for themselves what a word means.

Don’t anthropomorphize. Remember that these rules are for me. There are lots of good science books that use the first-person voice of animals, natural forces, even the universe. But these books make it clear from the beginning that there is poetic license involved, and that the reader is being invited to use their imagination to see the world from the perspective of some other entity. I’m more concerned about casual references to how animals “feel,” or what they “want,” in what is presented as an objective examination of their behavior.

If possible, anticipate the questions suggested by the facts being presented and answer them. This can be a never-ending sequence, one answer suggesting another question, so at some point one has to move on, but if we point out that an animal living in the jungle is brightly colored, it’s great to be able to say how color helps the animal (as it must, in some way, or it would have been selected out). Does its color warn off predators, attract a mate, or — counter-intuitively — help it hide? A colorful animal that lives among colorful flowers may be hard to spot.

Try to avoid the standard narrative. For many subjects, a typical story line seems to have developed. Often the same creatures or phenomena are used to illustrate a particular concept. Symbiosis: the clown fish and anemone. Metamorphosis: butterfly, frog. Endangered animals: rhinoceros, panda.

Don’t oversell science as entertaining, or make it goofy or wacky. Science is not primarily about making things smell bad or explode. There is thinking involved, and work. The fun and satisfaction come from understanding new things and seeing new connections.

Don’t confuse the presentation of facts with the explanation of concepts.

Finally, don’t follow lists of rules.


Summer Literacy Institute:

Tuesday, July 12, 2016 through Friday, July 15, 2016

8:00 AM – 4:00 PM

Making the Writer’s Craft Visible: Teaching Purposeful Decision- Making in a Writers’ Workshop (Grades K–8)

Teach your students how to learn to write from Carl Anderson, Steve Jenkins, Nikki Grimes, and Jack Gantos!

Location: Lesley University – University Hall, 1815 Massachusetts Avenue, Cambridge, MA 02140

 

 

 

 

Resisting the Frenzy: Staying the Course of Common Sense in Literacy Teaching

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by Irene Fountas, Author, Professor, and Director of the Center for Reading Recovery and Literacy Collaborative at Lesley University

In the past several decades, there have been a variety of movements that have shifted literacy teaching in our schools. Often the newest trend has meant a total mind-shift of instructional practice for teachers. Certainly something important can be learned from the emphases of each movement, but each swing of the pendulum has also left out some important areas of literacy teaching and learning. One cannot simply make the assumption when there is a new movement in the midst that the worthy new areas of emphasis are not already implemented in schools that are implementing a high quality literacy approach.

When we have articulated our values and beliefs about meaningful, authentic literacy learning in our schools, we can examine the contributions of each new movement in the light of well-grounded principles and stay the course of common sense in our responsibilities to our students, instead of shifting to a new bias that may compromise our commitment.

I will address a few of the key areas we have articulated in our work in supporting high quality literacy approaches that we believe have stayed the course of common sense for almost three decades.

First, every student deserves to have a meaningful and interesting reading life and writing life in school.

This means students read and write for real purposes every day in school and have choice in what they read and write. Choice breeds students’ sense of agency and promotes engagement, and furthers the development of one’s tastes in reading and one’s voice in writing. With the appropriate learning environment and scaffolding, students learn that reading and writing are thinking and that they can think about a variety of topics, authors and genres when they read and mentor with the thinking of the best of writers when they write. They experience some teacher-selected high quality literature and nonfiction, but also a good selection of self-selected material that builds their understanding of their selves and their physical and social world. They learn from their teachers how to make the good choices that offer enjoyment and expand their breadth and depth as readers, writers, and global citizens.

Second, students need a variety of structured opportunities to talk throughout the day.

Talk represents thinking. Students need to think and talk in school. This means pair and triad talk, small group talk, and some whole class discussions that have intent, not just talk for talk’s sake. This includes such instructional contexts as reading or writing conferences, literature discussion groups, guided reading groups, and interactive read aloud lessons that include pair or small group talk. Teachers sometimes don’t realize they are dominating the talk and robbing the students of the process of learning through verbalizing their understandings and building on or challenging each other’s ideas. The one who talks is the one who learns. Teachers play a key role in helping students learn how to use language that promotes conversation and the analysis of texts with others to achieve deeper understandings than any one reader could achieve on his own. When students discuss a variety of fiction texts, nonfiction texts, and poetry in a community of readers and writers, they learn how to use the language and vocabulary of literate people. These rich experiences build their background knowledge and academic vocabulary and put each learner in the role of a literate being.

Third, the text base for learning needs to include a variety of high quality fiction and nonfiction texts, primary and secondary sources, as well as poetry. 

The classroom text base needs to provide access to age appropriate, grade appropriate material that is of high interest and value. Sometimes the texts students are asked to read simply aren’t worth reading or don’t engage their intellectual curiosity. The texts need to be meaningful, relevant, developmentally appropriate and made accessible. Alongside this rich base, students need the opportunity to lift their reading powers with the precision teaching made possible with the teacher’s use of carefully leveled, challenging texts at the student’s instructional level. These texts allow for the differentiated, intentional teaching that each student deserves to develop an effective processing system and move forward as a self-regulating, independent reader.  Photo of Girl Reading

Fourth, students deserve to be acknowledged as unique learners.

Every student and every group of students is different. When teachers learn how to systematically observe the strengths and needs of individuals, the assessments can inform instruction and the teaching can be responsive. No assessment is valuable if it doesn’t result in better teaching. Good assessment gives information on how students process texts and what they understand about words, language, and text qualities. High quality literacy opportunities are built on the strength of the teacher’s expertise in assessing the readers and writers he/she is teaching. Some teachers fall into the trap of teaching students as if they are all the same or focus on teaching the book or program, not the diverse group of students in front of them. Effective teachers assess at intervals to document progress and assess by the minute to fine tune their decisions in the act of teaching.

Staying the Course 

These are some of the mainstays of high quality literacy opportunities for every student. Learning to read and write is complex and will require the complexity of teacher decision-making with sound rationales that are rooted in students’ observable reading, writing and language behaviors. Let’s look to the new movements for what they add to our expertise but keep our good sense about what really matters.

For more information about the Lesley University Center for Reading Recovery and Literacy Collaborative events and trainings, visit our website at www.lesley.edu/crr .

Writing Matters- Teaching and Learning from the Heart

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Guest blog post by Peter Catalanotto and JoEllen McCarthy, 2014 Literacy for All Conference Speakers

Unless we reach into our students’ hearts, we have no entry

into their minds.”

-Regie Routman

Getting at the core of what matters most to all readers, writers and thinkers, is the “heart” work of education. As Regie Routman said, we need to reach into their hearts in order to reach their minds.

Children live what they learn. Young writers learn from explicit instruction, modeling and emulating what they see strong writers do. Studying these authors inspires creativity, and supports a vision of what is possible for kids to do.

Books touch the hearts and minds of all readers. Powerful picture books serve as mentor texts to lift the quality of student writing, but more importantly they can also have the “power” to lift students up. Books can connect us as members of a growing community of learners. Books can leave heartprints: they can touch our lives and leave lasting impressions on our hearts. That’s why it isn’t enough to choose the mentor texts for the what, but it is also important to think about the why.

“Mentor texts are more than just craft coaches for writers- they can also offer inspiration and life lessons.”

– Georgia Heard

To teach is to touch a life.

When Peter started school, he wrote backwards and upside down, a condition called dysgraphia. Because he wrote backwards, he never aspired to be a writer. Several teachers had him practice writing. More importantly, his third grade teacher, Miss Dunn, put into practice the belief- allow a child to lead with their strengths.

When she noticed Peter’s struggle with writing, she suggested for a book report that he simply read the book and draw a series of pictures. When she saw his drawings she said it was clear that he read and understood the story. Then she asked if there was a way she could know what the characters in the pictures were feeling and thinking, or what they might do next. Peter looked up at her and said, “I could add words.”

“That’s brilliant!” she exclaimed. “Yes, you can add words to your pictures!”

Powerful words: “Yes you can.”

Yes we can in fact, reach into the hearts and minds of our students. We reflect on the what and why of our students’ needs. Isn’t that what matters most? Now, more than ever, we need to practice kindness, practice patience, and practice love. Because children won’t remember most of what you say and do. But they remember how you made them feel. What matters most in writing, (in reading, in life—) touching the hearts of all learners.

Miss Dunn touched Peter’s heart and mind. Who is your Miss Dunn? More importantly, whose Miss Dunn will you be?

Mentor author/ illustrator Peter Catalanotto and educator, JoEllen McCarthy offer an invitation to connect with them, collaborate, and celebrate what matters most to reach the heart of all learners.

Join the conversation at the Literacy for All conference session LCF-9 Tuesday, November 4th: Writing Matters: Learning From and With Mentor Authors (Grades K-5)

A Glimpse of the Writing Process

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This week we’re proud to have as our guest blogger Jack Gantos, award-winning author of the Rotten Ralph and Joey Pigza books, and one of the keynote speakers at this November’s Literacy for All Conference. Jack shared with us some photos and reminiscences of his time finishing his most recent novel, The Key that Swallowed Joey Pigza.

 

road16I was sitting in a Starbucks in Kuala Lumpur and working on The Key that Swallowed Joey Pigza (due out 9/14) while on a speaking tour at the International School at Kuala Lumpur. Normally I would have finished my novel back in Boston before going on such a demanding tour, but I hadn’t finished the last few chapters. I was behind and so I was speaking by day and writing on the weekends and at nights in my hotel room. I did finish the book before I left Kuala Lumpur.

*note- click on the pictures to enlarge the photos

 

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At the end of every novel, there are unused notes and pages and spin-off ideas that never get used. When I begin the task of packing up all the first draft material I have to sort through it and look for any random ideas that may be useful in the future. These ideas in the photo have been vetted and the useful ones filed away in the appropriate ‘future ideas’ file. The elephant money clip that holds the notebook together I bought in Bangkok while speaking at the International School. These notes are also from The Key That Swallowed Joey Pigza.

 

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This notebook is part of the odds and ends leftovers from From Norvelt to Nowhere. This collection of pages and scraps looks like off-road material from when I was working on the chapter that takes place in Rugby, TN— a great 19th century utopic town started in Tennessee by Thomas Hughes, the English writer who made his money writing the important anti-bullying book titled Tom Brown’s School Days. The town faded away— but the library is fully intact, and is brilliant. I used this town as the birthplace of Miss Volker in the NORVELT books, as the town’s utopic origins would surely be inspirational to Miss Volker, who is a progressive community thinker.

Jack Gantos will be presenting at the Literacy for All Conference in Providence, RI on Tuesday, November 4, 2014. His keynote session is entitled, “Literature, It’s All Personal.” He will also be presenting two additional sessions at the conference.